Kolkata: The theme of pujas who took Kolkata with a storm of about two decades ago had for years offering millions of insights about not only the brilliant mind of their artists and innovations, but also evolved the last time to present comments about more serious sociopolitical problems and The darker it haunts our lives.
In 2017, demonetization or ‘notebandi’ is a theme in two puja pandals in the city and suburbs.
Last year, at least three pandals highlighted the fate of the remaining migrant workers to find a way back from the far away land after the country was closed for a pandemic.
This year, two pandal pandals, located in two ends of the city, has again exhibited two political problems – new agricultural laws and controversial national registers (NRC).
Both Rintu and Arniban believe artists cannot be stupid audiences for the difficult times India passed.
Rowsa club at Behalatheme artist anirban watershed, who last year highlighted the closure induced by a pandemic in Pandal Dum Dum Park Bharat Chakra with a large motive from everyday life to showcase a city that wakes up from sleeping to puja, this time trying to shake conscience Audience by placing the spotlight on the protest of farmers and massacre last week in Lakhimpur, where the speeding vehicles appear to reduce farmers who protested.
At the entrance to the Pandal is a giant replica of the tractor used by farmers to the ground.
It was followed by graffiti wall vehicles and a farmer lying on the track with a line in Bengali that read “Motorgari Uray Dhulo, Pusshe Morey Chashigulo (Farmers were destroyed under the wheel of the car that accelerated, raising dust storms)”.
Anirban said graffiti was created to describe how poor farmers were exploited, with vehicles used as a metaphor for rich; The Lakhimpur incident added a striking and cold horror representative who had played on the protest site.
“I was working on the theme to showcase the history of agricultural protests in India, from the newest Movement to the latest, when the terrible incident occurred in Lakhimpur.
I have mentioned the name Lakhimpur in one of the few placards located, as if they were abandoned with hurriedly Hasty, after being sued by the police, “explained Anirban.
A collage hundreds of sandals also described the raid as a result of Lathi’s accusations to disperse protesters using Brute Force.
In Behala, where Pandal Pandal has exploded to stand out since they adopt a theme and navigate visitors with installations in limited space.
The artist Theme Club Rintu Das broke away from last year’s pure aesthetics to present Dewi Durga as a migrant worker, queued to relieve it with four children.
This year, Rintu has exhibited the fate of “refugees”, which is now faced with uncertainty again after being transferred during independence or during the Bangladeshi Liberation War.
The reference is to NRC that threatens to revoke people if they cannot prove their citizenship through documents.
“My theme is ‘Bhagir Ma’ (a mother is divided).
I started from time in history when acting on a dream, King Ballabh Sen explores the statue of 2.5ft Maa Durga hidden in the middle of excessive growth in a wooded patch near Dhaka Dhakeshwari.
After the partition, Millions of times were given homelessers and had to migrate.
Even Maa Durga did not survive and had to be moved to a temple in Kumartuli, where he was now worshiped.
But he did not have a document to prove that he was an Indian citizen.
The terror who was forcibly moved that had spread In Assam and all the northeast and indeed the whole country because the NRC problem haunts many mothers, including Maa Durga, “obviously.
The artist has made a strong image of Durga locked in a truck stranded in the land of Noman between the Indian-Bangladesh border and his children and the Dhakeshwari idol in his lap.